Ah yes, the elusive article. The one that we have compiled and written twice previously, the second of which was mysteriously deleted. Well, to mark Reuben’s wondrous (and hopefully longer) return to writing, we thought we’d give it another go; ranking our favourite songs by our favourite band.
Yo, this be Reuben.
Indeed, the elusive chaboi who’s writing you’re reading right now is back into the fold after being a rubbish writer for a few months. I think one thing me and Milo will always have in common is that our favourite band is compiled of Anthony Kiedis, John Frusciante, Flea and Chad Smith (well, all the other Chili Peppers stuff is also great but yunno). As with this Top 25, our first list was a bit crap and kinda weird, the second one was a huge improvement but disappeared from the face of the Earth for whatever reason, and hopefully this, the third one, will really be our definitive Top 25 RHCP songs and won’t randomly be deleted. So, as with the second list we published, this article can be viewed as Stuff and That’s magnum opus.
As for any rules this list goes by, the one to keep in mind is that any song with a blue title is one of Reuben‘s choices and the song’s section is written by him. Any song with an orange title, on the other hand, is one of Milo‘s choices and its section is written by him. And with how the list was compiled – as with the second article; both Milo and Reuben made their own individual top 25 RHCP songs and Milo used a meticulous point system to rank the songs in a list to represent both individual ones in one collective list which ye better read or Milo might just give you a fondle.
And before we begin, let’s get it straight that Milo and Reuben view every song they individually write about as, basically, a masterpiece, so there’s a whole lotta love for every single song on this list, not just the top ten, per say. There are also quite a few omissions from the list the two fellas are a bit upset about, because, as time has gone on, their taste in the band has changed quite a lot, so a bit of the ol’ compromise has taken place on more than one occasion. Ha, I don’t know why I’m writing in the third person like this, this is chaboi Reuben, and apologies for the waffling. But it’s fine because I KNOW YOU DIDN’T READ ANY OF THIS, MARK.
Anywayyy, without further adieu or dipplywobs, let’s get this list started!
25. Especially In Michigan (Stadium Arcadium, 2006)
This one just about managed to slip it’s greasy little toes into this list and I’m glad of it. Back when the only music I listened to was Stadium Arcadium disc 1, my favourite songs were this and a certain other two that might just turn up on this list. This one manages to stick out from the rest of the awesomeness on the masterful disc because, essentially, it’s a goosebump machine. At its heart is an incredible guitar turn from a certain Omar Rodriguez-Lopez, (who, sorry John, is my favourite guitarist for his work in The Mars Volta) and this guitar weaves through the verses with its soft overdrive tone, which, in turn, kinda describes the tone of the whole track. It’s got some heaviness with its immense guitar turns and strong backbone of punchy drums and bass, but it’s also got Anthony’s soft vocals and hypnotic river-like guitars and soundscapes, and every individual part of the song comes together perfectly to blend softness and power like no other band can really do.
24. Otherside (Californication, 1999)
Iconic. That’s probably the best way to describe this song. Everyone who lived through the late 90’s probably knew it, and everyone claiming to be a Chili Peppers fan should know this one practically note-by-note. On the album, the flow between Scar Tissue and Otherside is seamless and the two compliment each other perfectly as track three and four. For me personally, Otherside is the better of the two. It’s one of the band’s catchiest songs, and that is certainly no mean feet. It’s got Frucsiante’s memorable guitarwork, which at the same time as being delicate and eclectic, is varied and powerful, as it moves the song from its floaty and contemplating beginning to its climatic finish, with Flea’s rolling bass, Chad’s steady drums and, last but most definitely not least, Kiedis’ vocals, which are some of his best recorded. Backing him up, also, are some of Frusciante’s most memorable vocals, which swoon through the song’s hook fantastically.
23. Warped (One Hot Minute, 1995)
In the past few months, at least since the last time we did this damn list, my opinions on One Hot Minute have dramatically changed, partly due to my infatuation with Dave Navarro’s stylee, the band’s twisted turn they took and a little bit thanks to Reubs’ overwhelming praise of it, it’s kinda infectious, much like the pleb’s many disgusting ailments. However, its lead single Warped, and it’s bewildering, lethal, surreal and twisted funkadelic bizniz, that drew my attention the most, becoming my favourite on the album. Kiedis’ echoed lyrics are distorted in the same way a spine would be if you cast it in rubber then broke it, if you can imagine such an image, with his drug-addled confusion being felt in the overwhelming wave of instrumental chaos, permeated by rapid bass and guitar leads. It’s just a bucket of heroin-soaked mental.
22. Venice Queen (By The Way, 2002)
I don’t know whether or not this is common knowledge on Stuff And That but whenever Reuben hears Pearl Jam’s Black, he bawls like a child (not true). While I’m not the emotional wreck he is, this song has a similar powerful affect on me. The detailed guitar melody in the first part of the song, along with the sparce piano notes, flow like a melancholic river suitable for the poignant subject matter. However, it’s the song’s second half that really gets me. Opening on a much more punchier acoustic lead, punctuated by sharp snares, the song becomes a tribute to Kiedis’ passed drug counselor, with lyrics being some of the most personal and hard-hitting in the band’s catalogue, and it’s the closest I come to crying at a song.
*wipes eyes and remembers to be funny*
BUT LIKE THAT’S FOR LIKE PUSSIES THO, AMIRITE *sniff*
21. Scar Tissue (Californication, 1999)
Let’s take it down a notch, eh? While many will be up in arms about this fan favourite’s placing here, my love for this track doesn’t falter. With a fuzz-fringed riff, this song, being the lead single from Californication, marked the return of Frusciante in a big way, with his desert-wandering solos and intricately melodic trademarks being instantly apparent. Moreover, Anthony’s falsettos and Flea’s more harmonious bassline immediately signalled a complete departure from the majority of the band’s back catalogue, a sound which developed throughout the album to define RHCP’s sound just as much as the funkier stuff.
20. Tear (By The Way, 2002)
Gawwd, I love this song. It’s part of my RHCP Love Trilogy (d’ya get it, cuz it’s another Chilis song), the other two parts also making an appearance (and you know who gon’ be writin’ them). However, while it may be the weakest of the three, it’s still a mezmerizing song, and one of surprising instrumental variety, with subtle harpsicord, an instrument I usually loathe, filling out the space and give the song a fuller sound overall. Moreover, we also get a trumpet solo which doesn’t sound straight out of a cartoon, which is nice. But, it’s the Beach Boys-eqsue backing vocals, sugar-sweet melodies and shimmering guitars that make this song so special.
19. Easily (Californication, 1999)
I have loved this song from the very first time I heard it when I was but a child, and at a couple of points I’ve called it my favourite Chili Peppers song. Now, even if I can’t give it that kind of praise anymore, I still rank it very highly and whenever it comes on, it’s just a great time. The amount of energy, precision and passion poured into this song is clear and it ends up as one of the most infectious and fun songs in their catalogue. Instrumentally, this song is full of energy and enthusiasm from tip-to-toe, with a thick wall of scratchy guitar, bouncy bass and ceaseless drums, and as a result it’s a bundle of awesomeness. But, seeing as it’s the Chili Peppers, their has to be a certain calm aspect to the song, and that’s fulfilled in expert fashion to give it an atmosphere of unmatched controlled chaos, with Kiedis’ soft chorus vocals and the complex, winding guitar leads towards the end of the song.
18. Midnight (By The Way, 2002)
As Reuben rightly said many, many moons ago, “Variety is the spice of life, and Midnight has that very thing”. Indeed, the spiciness of the By The Way classeek is undeniable, opening on a dazzling string part before slipping into a familiar Frusciante groove. Although it is these guitar grooves that add the glitter to this sequins gown, the luxury silk is all bass, baybeh. Flea really outdoes himself on a structural front, supporting the leads with a really groovy but fitting bassline that both keeps itself subtle but is also amazing in its own right. And, of course, the big blow-out chorus is truly a pound-your-chest, belt-it-out point on the album, fitting of the grandiose intro.
17. Funky Monks (Blood Sugar Sex Magik, 1991)
Oooh, this is funkayyy. Easily one of the straight-up dirtiest grooves laid down on Chili Peppers track, the bass in Funky Monks is one of the finest lines Flea has performed in his career, which is saying a helluva lot. Not just that, but the crazay-mutha’ucka, as well as the wickedy-sick intro, puts in not one, but two goddamn sexay-ass solos, both of which have me retreating into a lil’ funk ball and having a thorough groove before returning to the real world. On top of this, the quirky guitar wiggles and dream-like backing vocals make this one of John’s best turns on the album. At the same time, Chad’s rock solid beat grounds the whole thing and proves his versatility as a so-called “pocket drummer” while Kiedis’ entertaining and borderline comedic lead vocals keep this song ridiculously over the top.
16. One Hot Minute (One Hot Minute, 1995)
What a song. WHAT. A. SONG. For me, this song is one of two metal Chili Peppers songs, the other being Warped. Although I absolutely love both, this titular track on One Hot Minute has to be my favourite. It contains one of my favourite guitar tracks in history, and that is no mean feat. Dave Navarro really got the tone spot on in this one. He peppers the track with spicy power chords and reverb to give it a really heavy edge and a fantastic sound wall, something that is unique to a Chili Peppers song and something I really love. It’s effect-laden and full of intricacies, with off-shooting high notes and ripping riffs, and it’s always alternating and changing between different hooks and riffs, to keep it as entertaining as it is to start with the whole way through. It’s songs like this that make Dave Navarro one of my favourite guitarists.
Alongside Dave Navarro’s awesome guitarwork are the pounding and fill-heavy drums from Chad Smith and Flea’s slapped bass accompaniments, which all come together to create a very unique and heavy sound, which is infectious in its madness. One Hot Minute is at once one of the band’s most energetic songs, one of its most unique, and one of its heaviest. As I said in my review of the album, it’s ‘6 minutes of psychedelic riff heaven’, and overall ‘an orgy of funkadelic awesomosity’. Anthony Kiedis’ vocal performance here is also infectious in its catchiness.
15. I Could Die For You (By the Way, 2002)
The second in my By The Way “Love Trilogy”, and my personal favourite (Reuben, you bastard), I Could Die For You, for me, is the epitome of the love song. The idyllic lyrics are poetic in the imagery they conjure up, with Anthony’s innocent (I know) performance, as well as John’s backing harmonies, being one of the most picturesque and one of my favourite vocal pieces of all time. Along with the beautiful and almost vulnerable-sounding guitar leads, the gentle bass and punchy (by comparison) drums, this song comes together simply stunningly to become something I instantly synonymise with love in general. Needless to say, I had it a lot higher on my list (Reuben, you BASTARD.).
14. My Friends (One Hot Minute, 1995)
Back in ’95, the Chili Peppers were going through some pretty rough times, and the feelings brought about by this weren’t represented any better than in this song. For me, My Friends is one of the best melancholy songs in history. They really hit the nail on its head with the tone in this thing. It’s one of their most emotive songs. Because, with those delicate and intricate acoustic guitars flowing through it and Kiedis’ introspective and beautiful lyrics, it’s gentle at its heart, but with the addition of the electric guitars (including some power chords and a sweeeeet solo) and Chad’s building drums, it also has a great aspect of power and emotional heaviness, bringing that gentle meaning to a crashing crescendo of noise, and it all sounds brilliant. My Friends is the band’s most emotionally potent songs, and also one of their most catchy, and most well composed. It should be wayyyy higher on this list, but oh well. You know how much I love it.
13. Snow ((Hey Oh)) (Stadium Arcadium, 2006)
The third single from Stadium Arcadium has a very-large pop/arena appeal, which is in no way a bad thing. The build-up of this track is really something special, with this being some of the best musical structuring I’ve ever seen from the band, with the chorus and outro having a really emotional-sounding, powerful feel. With a guitar-lead so dizzyingly intricate that my head is hurting just contemplating it and an extremely glittery strum-pattern in the pre-chorus/chorus, John really does bring it here, even popping in some awesome mellotron to fill the song out a bit more. Anthony’s delivery strikes the perfect balance between rap/sing, with both flow and melody, and Flea’s bassline, while hardly the focus, comes together with Chad’s easy-to-listen-to, hard-to-play drum pattern to form a rhythm section as pretty as the melody. This does all elevate to something higher as the song progresses, and it really was magical when they played it live.
12. Californication (Californication, 1999)
I’ve realised that this song can draw quite a few similarities to Otherside. It’s got comparable building drums filled with the ol’ hi-hat and ghost notes, iconic and eclectic guitar work from Frucsiante, and one of Kiedis’ very best vocal outputs. I mean, it can draw similarities in that way, and all these qualities are amplified on Californication, which, by the way, is probably the best title track of a record in history. I just love the intricacy of this track, and how well it’s layered. Every single component differs completely but works so well in harmony, to create a whole which in itself is so unique, and so damn good. It’s got a very listenable mid-pace, with so skilled instrumentals that somehow sound so simple. This song was the epitomy of the Chili Peppers’ new softer style and presented a band truly on the top of their game. You can see why ol’ Anthony didn’t want the lyrics for this thing to go to waste, too, and I’m glad the band managed to persevere and create a song to fit around it as incredible as this. For me, this should be a top five hit, but oh yeah, MILO DOESN’T APPRECIATE THE GOOD STUFF, WHAT A DINGUS.
11. Readymade (Stadium Arcadium, 2006)
Now, I’m gonna tell it to you straight. This probably shouldn’t be above Californication, My Friends, or One Hot Minute in this list. But what the hey, I’m happy it’s as high as 11th, it’s definitely a big boi. Readymade has always been one of my favourites. The big phat reason for that is the big PHAT riff running through it, which is brought to your squeeming ear-holes through hard-hitting bass and power-chord ridden electric guitar. Punctuating this awesome riff is drum work akin to the ceaselessly flowing funk-tastic drums that go through most of Blood Sugar Sex Magik, and Anthony Kiedis’ oh-so natural and energetic vocals, which, although not exactly his most tuneful and well performed in history, just sound like he is having so much fun — and I can’t help but have as much as he is.
10. Soul To Squeeze (Coneheads OST, 1993)
Oh shit, how the hell was this not on Blood Sugar?! Probably the greatest B-side of all time (Idea for a top ten there), Soul To Squeeze somehow ended up on the Coneheads soundtrack, where it finally achieved the mainstream success it clearly deserves. While the pitch-bend heavy guitar picks and idyllic strumming make the guitar somethin’ wondrous, and the bass is underratedly brilliant, it’s Anthony’s touching (if sometimes gibberish) lyricism and, particularly, his infallible delivery that makes this song. Yes, it is very 90s, yes, it is very different, but it’s those two factors that helped it breach the top ten.
9. Universally Speaking (By The Way, 2002)
Of course this was gonna come around here in the top ten. It’s a staple RHCP classic and it’s gotta be somewhere in this list of the elite. This song is just, for lack of a better word, happy. It’s simple, easy listening, and, though maybe repetitive, never, ever gets old. Chad may have done better drumming in his life, and this isn’t Flea’s most impressive performance, but everyone does their bit and every simple and happy part of the instrumentals comes together into a flowing and fun whole, which with so much optimism in its vocals, lyrics and overall light and sunny tone, it never fails to lift me up. I also love that that driving bass does sound deceivingly like a trumpet at points, that clean and innocent guitar solo at the end, and all those little soundscapes and accompanying percussion that help make the song what it is. As a song, it perfectly encapsulates the attitude of optimistic, idiotic teenager — so, sadly, it’s very relatable.
8. Under The Bridge (Blood Sugar Sex Magik, 1991)
I can’t remember exactly what Milo said about this song last time, but I do remember how much he oozed over its video. I’ve gotta say, what a video it is indeed. Sure, Otherside is iconic, so’s Californication, Dani California and By the Way, but this song is the ultimate icon for the band. I may not love it as much as most of what comes above it on this list, but it’s undeniable what impact and lore this song carries with it. It’s the perfect anthem. As much as it might hurt some Chilis fans, I can see a bit of Pearl Jam likeliness in this song, with those high-pitched guitars really hitting the spot like in Even Flow, for example — this is a compliment, by the way, I love Pearl Jam like family. The main thing making Under the Bridge stand out like it does are Kiedis’ vocals, which are some of his most charming and passionate in his catalog (in a similar vain to what he did in Soul to Squeeze), with his poetic and melancholic lyrics lifting his performance and the entire song. It’s similar to Californication in that it’s layered, and is just as recognisable, along with not being far off having the emotive power that something along the lines of My Friends has. This song introduced the world to the gentler side of Red Hot Chili Peppers, and we should all be glad of it.
7. By The Way (By The Way, 2002)
The fact that this legendary song isn’t in the top five is deeply offensive to me. The ultimate mix of funk and melody, this song switches from an abrasive bassline and jungle-like beat, with some fantastic flows coming the world-famous Kiedis lips (don’t ask), to one of the catchiest and most flawless choruses in music, for me, with an awe-inspiring guitar lead. Seriously, while I may prefer the majority of the songs further in the list, I think I’ve just realised that the chorus of this song may be my favourite ever, with the iconic lyrics (Heavy glowwwwww) and, as I said, impeccable guitars. Particularly, this song also holds one of my favourite single pieces of guitar riffage ever, in the 20-second outro, seriously, listen for it, it’s amazing.
6. Warm Tape (By The Way, 2002)
The final instalment of my Love Trilogy, and my go-to song when I’m the smitten kitten, Warm Tape‘s casual approach to the grand idea of love is so relatable to me, with some particular lyrics holding deep personal meaning to me, and I BET YOU’D LIKE TO KNOW WHICH ONES THEY ARE, MUM. On top of this, the deserted and beautiful guitar leads, shimmering, cymbal-heavy drumming is picturesque and just bloody lovely. Then we’ve got the bassline, god oh god, do I love this bassline. The way it flows like clear, blue water, the way it somehow conveys the emotion of the song as well as the lyrics, it’s just perfect. Plus, I’d highly, highly recommend watching the video above because, while it isn’t official, I have never seen a set of visuals so perfectly match a song as well as this one.
Settle for love.
5. Suck My Kiss (Blood Sugar Sex Magik, 1991)
Me and Milo, surprisingly, were unsure about wrangling this song into the top five, but on reflection I’m glad it’s here. What an absolute big boi it is. It’s the perfect sum of all the filthy, heavy and funky elements of the 1991 masterpiece Blood Sugar Sex Magik, and proudly carries the flag for that crude and sexual side of the Chili Peppers. Suck My Kiss is filthy. These lyrics are not friendly, and I remember feeling like such a rebel listening to it back when I was but a wee boy. The track itself, musically, is just awesome. There’s no other word to describe it. Oh! Or, maybe, possibly, PHAT. Yeah, that’s a good word. From the very first note, this frisky anthem of adolescence is heavy, and in your face. The riff is practically the definition of chunk, with those guitar power chords melding with the bass which honestly sounds like it’s being punched by Flea, it remains one of the band’s heaviest pieces of music, and you know how much I love the heavy stuff. This song is just, infectious. The lyrics and the vocal delivery from Kiedis are completely un-filtered and full-throttle, remaining one of his best performances with the band, perfectly encapsulating the care-free attitude of the track and the album as a whole. But, for me, what really makes this song are those drums; they’re about the most powerful, funky drums you’ll ever hear. Chad really had something against those skins.
4. Around The World (Californication, 1999)
BASS. THE BASSSSSS. YESYESYESYESYESYESYESYESYESYESYESYESYES. The fleabass on this thing is almost incomprehensibly awesome, and, for me, stands as one of the very best single performances in the history of the instrument. It’s immensely skillful, powerful, and, above all, funky. These licks, at least other than possibly by a certain Les Claypool, are unbeatable. Lest we forget, however, the bass is not the only component of this song. It’s quite the strange song, really. In a way, it’s very disjointed. The chorus, really, should be very out of place considering what surrounds it. And to be honest, I’m not sure the combination of the guitar and bass on this track is particularly natural. Around the World mixes that insane bass, off-beat drum beats, and kinda obnoxious guitar work. And in the vocal department, Kiedis delivers some of his most delightfully nonsensical lyrics (including a certain ding, dang, dong, dong, deng, deng, dong, dong, ding, dang), mixing rap sections with the sung chorus. It’s a bit of a mess, at the end of the day. BUT WHO THE HELL CARES??? Around the World is totally unique, an absolute classic, and an overall huge slab of fun. I can always come back to this one, enjoy it and sing along. It’s one of their very catchiest songs, quite possibly their most recognisable, and the best from Californication, which is absolutely no mean feat by any means.
3. Give It Away (Blood Sugar Sex Magik, 1991)
The standard for straight-up funk rock, almost the best song of the 90s (for me), Give It Away is nothing less than The Chili Peppers at their peak, their half-naked, half-brained, full-libidoed peak. Firstly, Chad Smith’s driving beat is something that so solid, but has so much room for individual interpretation, something that’s extremely hard to do with a drum beat, with the snarework being particularly gnarly. With that, we have Flea’s signature bassline, following everything funk should be, characterising everything about the band at this point in their careers. Then, we have the didgeridoos. Yes. We also got the impeccably groovy guitar leads, which wind throughout the song like a snake made of George Clinton’s brain matter, and Kiedis’ rapped verses, the textbook example of what rap-rock should look like, with a real message behind the lyrics, and real entertainment behind the delivery. The 90s were arguably the greatest time to be a Chilis fan, and it ain’t hard to see why.
2. Dani California (Stadium Arcadium, 2006)
It just had to be runners-up, again, didn’t it. Oh well. The winner is an absolute classic too. But yes, for me, Dani California is the ultimate Red Hot Chili Peppers song. It is the best song they ever wrote. The crown jewel of 2006′ Stadium Arcadium, this song kicks off one of my favourite albums of all time in incredible fashion, and perfectly represented a band completely on top of their game, and, really, on top of the rock world. As a single, this was a huge hit, and hell, of course it was. It’s about the catchiest song of all time. And, for me, it is the ultimate rock song. Sure, I attach a lot of nostalgia to it, and the album as a whole, but it is simply incredible. It epitomizes what it is to be a Chili Peppers song. It’s in your face, it’s catchy, it’s funky, and it’s layered with all the brilliant aspects of the band: the bombastic fleabass, the pounding and solid drums, the fantastically delivered, confusingly lyricised (I dunno if that’s a word but screw you) vocals, and, probably the very best of them all, Frusciante’s shredding guitar. The solo on this, while not my favourite of all time like it is Milo’s, is certainly very high up there in the elite, and the overall performance from Frusciante (on the guitar and with his background vocals) is simply incredible through the song’s whole run-time.
This song is classically my favourite of all time. Nowadays, The Mars Volta’s Goliath and Pearl Jam’s Black have given it some very powerful competition, but I think the fact that Dani California is my favourite song by my favourite band, along with the fact I’ve loved it ever since I first listened to music, probably just about makes it best its competition. I feel totally connected to this band, and this song in particular, is practically a part of me.
BE WARY THERE BE HONOURABLES ‘ROUND THESE PARTS…
Dosed (By The Way, 2002)
Aeroplane (One Hot Minute, 1995)
She’s Only 18 (Stadium Arcadium, 2006)
Fire (Mother’s Milk, 1989)
The Zephyr Song (By The Way, 2002)
Circle of the Noose (Unreleased, 1997)
Wet Sand (Stadium Arcadium, 2006)
Desecration Smile (Stadium Arcadium, 2006)
This Velvet Glove (Californication, 1999)
Storm In A Teacup (Stadium Arcadium, 2006)
Higher Ground (Mother’s Milk, 1989)
Mellowship Slinky In B Major (Blood Sugar Sex Magik, 1991)
Stadium Arcadium (Stadium Arcadium, 2006)
Breaking The Girl (Blood Sugar Sex Magik, 1991)
Apache Rose Peacock (Blood Sugar Sex Magik, 1991)
OMIGOD WE’VE DONE SO MANY OF THESE LISTS IF YOU DON’T KNOW WHAT NO. 1 IS I DOUBT YOU’RE EVEN A REAL PERSON WHO EXISTS.
1. Can’t Stop (By The Way, 2002)
Of course, of course, I’m always gonna get my way with this one because I LOVE IT MORE THAN ANYTHING ELSE IN THE WORLD. While I’ve most definitely ranted about my love for this song at least 5 times on this site, all in similar contexts, I’m prepared to do it one more time for the kicks, me likey, me likey a lot. Where to start, where to start… Never before or since have I ever heard guitars and bass in such synchronicity, in such harmony, as they are here. Frusciante’s reggae-influenced licks and irregular strumming patterns bounce off of Flea’s insanely funky slapped bassline like a trampoline, while his solo is one of the only things I’ll throw my hair back to with such gusto, a look plastered on my face like Omar on his Orgasmatron 3000. We’ve got a drum beat that is so bedazzling, it manages to embody complete antonyms like, “punchy” and “soft” at the same time, making it something out of our realm, and Chad Smith a DIMENSIONAL-TIME-TRAVELLER. And, of course, we’ve got Anthony Kiedis’ surreal, chaotic but ultimately poetic lyrics and perfect delivery. And, when I say perfect, I mean it. This is one of the first songs I learnt off by heart and I still belt it out right to “THIS LIFE IS MORE THAN JUST A READ-THROUGH” to this day. It’s more than that though, it reminds me of my childhood, it was my first favourite song, and has continued to be for 14 years, or the majority of my life. AND REUBEN CAN’T HAVE DANI CALIFORNIA HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA.
So, there we have it, I’ve got my way once again because I’m a sneaky bastid. Hopefully, this’ll be the last time we write this article for a while, but I’m happy we’ve finally got it up (said the man with long-time erectile dysfunction (I’m sorry (I’m totally not sorry))). I urge you to listen to literally all of these songs then listen to everything else these legends have done, there is a reason we love them so much; they’re the friggin’ best.
There we have it indeed. Working on this list has really reminded me how much I love this band, and now, boi oh boi, I cannot listen to anything else. And, as with Can’t Stop topping Dani California on this list, well, I’d rather it didn’t, but it’s cool. It is an absolute masterpiece of a song, and in fairness I’ve had it as my number two in each of my personal top 25s of this band. My biggest disappointment with this list is its lack of Aeroplane and Higher Ground, and I have a few niggling issues with the ordering, but I’m really happy with how it panned out. Hopefully this list has reminded some o’ you folks how damn good the Chili Peppers are. As a band, they are much more than their singles. They’ve got a huge back catalogue of awesomosity, and remain to this day one of the most unique acts in rock music. I DON’T KNOW HOW MUCH YOU ACTUALLY READ OF THIS, MARK, WITH YOUR SCROLLING ANTICS, but I’m just glad we could sort out this list again, and hopefully our opinions won’t change enough to make another one of these things.
Lots of hugs, kisses and lacerations
Bringing redundant opinions to scrollers everywhere,